Paul Eggert – författare

Biography of a Book traces the life of an iconic Australian literary work in the lead-up to, and for a century after, its initial publication: Henry Lawson's 1896 collection While the Billy Boils. Paul Eggert follows Lawson's gradual development of a pared-back bush realism in the early 1890s, as he struggled to forge a career, writing short stories and sketches for the newspapers. Lawson’s famous collection came out at a decisive moment for the development of a fully professional Australian literary publishing industry, then in its infancy in Sydney. The volume’s editing, design, and production were collaborative events that changed the feel and nature of Lawson’s writing. He had to give ground on the order in which his stories were presented and even on their texts—especially the idiosyncratic wordings that helped breathe life into his characters.While the Billy Boils went on to be reprinted and repackaged countless times. Its production and reception histories act like a geological cross section, revealing the contours of successive cultural formations in Australia. In unraveling the life of Lawson’s classic work, Eggert’s book-historical approach challenges and clarifies established understandings of crucial moments in Australian literary history and of Lawson himself.

Biography of a Book traces the life of an iconic Australian literary work in the lead-up to, and for a century after, its initial publication: Henry Lawson's 1896 collection While the Billy Boils. Paul Eggert follows Lawson's gradual development of a pared-back bush realism in the early 1890s, as he struggled to forge a career, writing short stories and sketches for the newspapers. Lawson’s famous collection came out at a decisive moment for the development of a fully professional Australian literary publishing industry, then in its infancy in Sydney. The volume’s editing, design, and production were collaborative events that changed the feel and nature of Lawson’s writing. He had to give ground on the order in which his stories were presented and even on their texts—especially the idiosyncratic wordings that helped breathe life into his characters.While the Billy Boils went on to be reprinted and repackaged countless times. Its production and reception histories act like a geological cross section, revealing the contours of successive cultural formations in Australia. In unraveling the life of Lawson’s classic work, Eggert’s book-historical approach challenges and clarifies established understandings of crucial moments in Australian literary history and of Lawson himself.

D. H. Lawrence left England for the first time in May 1912, and began almost immediately to record his reactions to foreign cultures. He wrote a series of travel articles intended for newspapers, two of which are published here for the first time after having been rejected as too anti-German in the tense pre-war atmosphere. In 1915 he amplified some of these essays and wrote others for Twilight in Italy (1916), his first travel book. Profoundly charged by the disorienting anxieties of the War, these essays evince a confidence and intellectual daring which take them well beyond the bounds of the conventional travel sketch. All are published in this first critical edition of his 1912-16 essays, together with his eerily prophetic article, 'With the Guns', written upon the outbreak of war in 1914.

This is the first critical edition of The Boy in the Bush, a novel whose unlikely genesis has been surrounded in mystery and the subject of claim and counter-claim. A systematic study of all the extant textual documents has revealed a process of composition and revision which qualifies the novel to be treated unequivocally as part of the Lawrence canon. At Lawrence's suggestion an Australian nurse and part-time author, Mollie Skinner (whom he had met in 1922), wrote a tale set in late nineteenth-century Western Australia about a newly-arrived young Englishman's reactions to Perth and the outback. Lawrence's complete rewriting converted her production into an ambitious, powerful novel. The reading text here established eliminates all such instances of censorship and strips away the thousands of regularisings and miscopyings introduced by typists and typesetters. Based on Lawrence's autograph manuscript the text meticulously incorporates his subsequent revisions in the typescripts and proofs.

Lawrence's genius is unquestioned, but he is seldom considered a writer interested in comedy. This 1996 collection of essays by distinguished scholars explores the range, scope and sheer verve of Lawrence's comic writing. Comedy for Lawrence was not, as his contemporary Freud insisted, a mere defence mechanism. The comic mode enabled him to function parodically to undermine radically those forms of authority from which he always felt estranged. Lawrence's critique of the modern failure of the mystic impulse is present in all the comic moments in his writing where it is used to create an alternative cultural and social space. Lawrence used humour to distance himself from the dominant orthodoxy surrounding him, from the material of his fiction, from his readers, and, finally, from his own often intensely serious preoccupations. This book revises the popular image of Lawrence as a humourless writer and reveals his strategic use of a genuine comic talent.

Lawrence's genius is unquestioned, but he is seldom considered a writer interested in comedy. This 1996 collection of essays by distinguished scholars explores the range, scope and sheer verve of Lawrence's comic writing. Comedy for Lawrence was not, as his contemporary Freud insisted, a mere defence mechanism. The comic mode enabled him to function parodically to undermine radically those forms of authority from which he always felt estranged. Lawrence's critique of the modern failure of the mystic impulse is present in all the comic moments in his writing where it is used to create an alternative cultural and social space. Lawrence used humour to distance himself from the dominant orthodoxy surrounding him, from the material of his fiction, from his readers, and, finally, from his own often intensely serious preoccupations. This book revises the popular image of Lawrence as a humourless writer and reveals his strategic use of a genuine comic talent.

We all have a stake in the past and in its tangible preservation, and we trust professionals to preserve our cultural heritage for the future. However, restoration in all its forms is entangled in many contemporary theoretical debates and problems. This book is the first concerted effort to examine together the linked philosophies of the different arts of preserving and uncovering the past: the restoration of buildings, conservation of works of art, and editing of literary works to retrieve their original or intended texts. By investigating a series of recent crises in each of these areas, Securing the Past shows how their underlying justifications relate closely to one another. Paul Eggert shows how they have been philosophically undermined by postmodern theories and charts another, richer way forward to a new future for the past.

Set in the tumultuous political world of Tsarist repression and revolutionary intrigue in St Petersburg and Geneva, Under Western Eyes (1911) renders with searing intensity the psychological torment of its Russian protagonist, a university student who, in betraying another, has betrayed himself. Based upon a comparison of the existing manuscript and other materials, this scholarly and first extensively annotated edition of Joseph Conrad's great novel Under Western Eyes differs from all previous printings by more accurately reflecting Conrad's writing process. The reading text is supported by new scholarly materials that are the result of fifteen years of investigation: essays on the textual and biographical history of the novel, extensive notes, appendices and maps, as well as a full listing of the thousands of textual variants in the early forms of the novel, including the 18,000 words that Conrad himself deleted.

We all have a stake in the past and in its tangible preservation, and we trust professionals to preserve our cultural heritage for the future. However, restoration in all its forms is entangled in many contemporary theoretical debates and problems. This book is the first concerted effort to examine together the linked philosophies of the different arts of preserving and uncovering the past: the restoration of buildings, conservation of works of art, and editing of literary works to retrieve their original or intended texts. By investigating a series of recent crises in each of these areas, Securing the Past shows how their underlying justifications relate closely to one another. Paul Eggert shows how they have been philosophically undermined by postmodern theories and charts another, richer way forward to a new future for the past.

Both Jacques Derrida and Julia Kristeva have made an enormous impact throughout the humanities with their work on signification, identity and difference, and yet the nature of the relation between their theories seems oddly indeterminate: they have sometimes been regarded as more or less indistinguishable and sometimes as incompatible This book aims at establishing precisely how Kristeva's and Derrida's writings may be articulated, tracing intersections and divergences, parallels and discontinuities between them. But how do you compare two theories of the production of difference? What conception of difference do you use to go about it? Any search for a dividing line between Derrida and Kristeva already engages with their preoccupations. Should the juxtaposition of these practices be conceived as a face-to-face confrontation or rather a gap, a hiatus? Could it be a dialectic? or a diff rance? Should it be thought of in terms of Kristeva's work . . . or Derrida's? Accessible and lively, this book studies the theories on their own terms, in terms of one another, and with regard to the literary text, a privileged object of their attention. It demonstrates that the articulation of the theories shifts under different discursive conditions such that a Derridean reading of the relation is unlikely to coincide with a Kristevan interpretation. It shows why there is no single answer to the question of how the two fit together. And it investigates what is at stake in the strategic uses to which their work is put, whether separately or together.

This collection of original essays brings international and multidisciplinary perspectives to the problem of how to understand and practice editorial mediation: How does editing alter what it seeks to represent? How does it condition the relationship between texts and readers? The different concerns shared by editors of a variety of genres, literary and otherwise, emerge here as constructive new approaches to the theory and practice of editing are explored. The essays make a concerted attempt to assess the implications of postmodern thought on one of the oldest and most fundamental cultural activities, editing The section on theory covers such important subjects as editorial responsibility, the death of the author, and the nature of the authorial voice. The practice section covers actual editing situations in various literary areas and in musicology, recorded music, and the preservation of oral literature. The multidisciplinary volume will find its readers among students of textual criticism, literature, music, and folklore as well as any readers of postmodern criticism.

Paul Eggert's book meshes biographical scholarship and editorial theory with literary-critical analysis to offer a fresh understanding and appreciation of how D. H. Lawrence wrote. By concentrating on the material surfaces and biographical moments of Lawrence's textual performances as he wrote and revised, Eggert reveals a continuous intellectual-imaginative project across his novels, stories, plays and poems. Gone is the old Lawrence-as-moralist of the sacred body and interfering mind in favour of a new Lawrence as a profoundly Modernist performer engaged in writing-acts of self-revealing discovery, characterised by projective force and ceaseless experiment. The interwoven and intersecting versions of his many writings are explored at revealing moments in his writing career. New, compelling accounts of his most important novels, poetry and travel books become possible. Students of creative writing and Modernist literature, and all readers of Lawrence's works, will benefit from this ambitious and original book.

Set in the tumultuous political world of Tsarist repression and revolutionary intrigue in St Petersburg and Geneva, Under Western Eyes (1911) renders with searing intensity the psychological torment of its Russian protagonist, a university student who, in betraying another, has betrayed himself. Based upon a comparison of the existing manuscript and other materials, this scholarly and first extensively annotated edition of Joseph Conrad''s great novel Under Western Eyes differs from all previous printings by more accurately reflecting Conrad''s writing process. The reading text is supported by new scholarly materials that are the result of fifteen years of investigation: essays on the textual and biographical history of the novel, extensive notes, appendices and maps, as well as a full listing of the thousands of textual variants in the early forms of the novel, including the 18,000 words that Conrad himself deleted.

Set in the tumultuous political world of Tsarist repression and revolutionary intrigue in St Petersburg and Geneva, Under Western Eyes (1911) renders with searing intensity the psychological torment of its Russian protagonist, a university student who, in betraying another, has betrayed himself. Based upon a comparison of the existing manuscript and other materials, this scholarly and first extensively annotated edition of Joseph Conrad''s great novel Under Western Eyes differs from all previous printings by more accurately reflecting Conrad''s writing process. The reading text is supported by new scholarly materials that are the result of fifteen years of investigation: essays on the textual and biographical history of the novel, extensive notes, appendices and maps, as well as a full listing of the thousands of textual variants in the early forms of the novel, including the 18,000 words that Conrad himself deleted.

By the late 1980s the concept of the work had slipped out of sight, consigned to its last refuge in the library catalogue as concepts of discourse and text took its place. Scholarly editors, who depended on it, found no grounding in literary theory for their practice. But fundamental ideas do not go away, and the work is proving to be one of them. New interest in the activity of the reader in the work has broadened the concept, extending it historically and sweeping away its once-supposed aesthetic objecthood. Concurrently, the advent of digital scholarly editions is recasting the editorial endeavour. The Work and The Reader in Literary Studies tests its argument against a range of book-historically inflected case-studies from Hamlet editions to Romantic poetry archives to the writing practices of Joseph Conrad and D. H. Lawrence. It newly justifies the practice of close reading in the digital age.

By the late 1980s the concept of the work had slipped out of sight, consigned to its last refuge in the library catalogue as concepts of discourse and text took its place. Scholarly editors, who depended on it, found no grounding in literary theory for their practice. But fundamental ideas do not go away, and the work is proving to be one of them. New interest in the activity of the reader in the work has broadened the concept, extending it historically and sweeping away its once-supposed aesthetic objecthood. Concurrently, the advent of digital scholarly editions is recasting the editorial endeavour. The Work and The Reader in Literary Studies tests its argument against a range of book-historically inflected case-studies from Hamlet editions to Romantic poetry archives to the writing practices of Joseph Conrad and D. H. Lawrence. It newly justifies the practice of close reading in the digital age.

By the late 1980s the concept of the work had slipped out of sight, consigned to its last refuge in the library catalogue as concepts of discourse and text took its place. Scholarly editors, who depended on it, found no grounding in literary theory for their practice. But fundamental ideas do not go away, and the work is proving to be one of them. New interest in the activity of the reader in the work has broadened the concept, extending it historically and sweeping away its once-supposed aesthetic objecthood. Concurrently, the advent of digital scholarly editions is recasting the editorial endeavour. The Work and The Reader in Literary Studies tests its argument against a range of book-historically inflected case-studies from Hamlet editions to Romantic poetry archives to the writing practices of Joseph Conrad and D. H. Lawrence. It newly justifies the practice of close reading in the digital age.

By the late 1980s the concept of the work had slipped out of sight, consigned to its last refuge in the library catalogue as concepts of discourse and text took its place. Scholarly editors, who depended on it, found no grounding in literary theory for their practice. But fundamental ideas do not go away, and the work is proving to be one of them. New interest in the activity of the reader in the work has broadened the concept, extending it historically and sweeping away its once-supposed aesthetic objecthood. Concurrently, the advent of digital scholarly editions is recasting the editorial endeavour. The Work and The Reader in Literary Studies tests its argument against a range of book-historically inflected case-studies from Hamlet editions to Romantic poetry archives to the writing practices of Joseph Conrad and D. H. Lawrence. It newly justifies the practice of close reading in the digital age.

Both Jacques Derrida and Julia Kristeva have made an enormous impact throughout the humanities with their work on signification, identity and difference, and yet the nature of the relation between their theories seems oddly indeterminate: they have sometimes been regarded as more or less indistinguishable and sometimes as incompatible This book aims at establishing precisely how Kristeva''s and Derrida''s writings may be articulated, tracing intersections and divergences, parallels and discontinuities between them. But how do you compare two theories of the production of difference? What conception of difference do you use to go about it? Any search for a dividing line between Derrida and Kristeva already engages with their preoccupations. Should the juxtaposition of these practices be conceived as a face-to-face confrontation or rather a gap, a hiatus? Could it be a dialectic? or a diff rance? Should it be thought of in terms of Kristeva''s work . . . or Derrida''s? Accessible and lively, this book studies the theories on their own terms, in terms of one another, and with regard to the literary text, a privileged object of their attention. It demonstrates that the articulation of the theories shifts under different discursive conditions such that a Derridean reading of the relation is unlikely to coincide with a Kristevan interpretation. It shows why there is no single answer to the question of how the two fit together. And it investigates what is at stake in the strategic uses to which their work is put, whether separately or together.

Both Jacques Derrida and Julia Kristeva have made an enormous impact throughout the humanities with their work on signification, identity and difference, and yet the nature of the relation between their theories seems oddly indeterminate: they have sometimes been regarded as more or less indistinguishable and sometimes as incompatible This book aims at establishing precisely how Kristeva''s and Derrida''s writings may be articulated, tracing intersections and divergences, parallels and discontinuities between them. But how do you compare two theories of the production of difference? What conception of difference do you use to go about it? Any search for a dividing line between Derrida and Kristeva already engages with their preoccupations. Should the juxtaposition of these practices be conceived as a face-to-face confrontation or rather a gap, a hiatus? Could it be a dialectic? or a diff rance? Should it be thought of in terms of Kristeva''s work . . . or Derrida''s? Accessible and lively, this book studies the theories on their own terms, in terms of one another, and with regard to the literary text, a privileged object of their attention. It demonstrates that the articulation of the theories shifts under different discursive conditions such that a Derridean reading of the relation is unlikely to coincide with a Kristevan interpretation. It shows why there is no single answer to the question of how the two fit together. And it investigates what is at stake in the strategic uses to which their work is put, whether separately or together.

Both Jacques Derrida and Julia Kristeva have made an enormous impact throughout the humanities with their work on signification, identity and difference, and yet the nature of the relation between their theories seems oddly indeterminate: they have sometimes been regarded as more or less indistinguishable and sometimes as incompatible This book aims at establishing precisely how Kristeva's and Derrida's writings may be articulated, tracing intersections and divergences, parallels and discontinuities between them. But how do you compare two theories of the production of difference? What conception of difference do you use to go about it? Any search for a dividing line between Derrida and Kristeva already engages with their preoccupations. Should the juxtaposition of these practices be conceived as a face-to-face confrontation or rather a gap, a hiatus? Could it be a dialectic? or a diff rance? Should it be thought of in terms of Kristeva's work . . . or Derrida's? Accessible and lively, this book studies the theories on their own terms, in terms of one another, and with regard to the literary text, a privileged object of their attention. It demonstrates that the articulation of the theories shifts under different discursive conditions such that a Derridean reading of the relation is unlikely to coincide with a Kristevan interpretation. It shows why there is no single answer to the question of how the two fit together. And it investigates what is at stake in the strategic uses to which their work is put, whether separately or together.

Paul Eggert's book meshes biographical scholarship and editorial theory with literary-critical analysis to offer a fresh understanding and appreciation of how D. H. Lawrence wrote. By concentrating on the material surfaces and biographical moments of Lawrence's textual performances as he wrote and revised, Eggert reveals a continuous intellectual-imaginative project across his novels, stories, plays and poems. Gone is the old Lawrence-as-moralist of the sacred body and interfering mind in favour of a new Lawrence as a profoundly Modernist performer engaged in writing-acts of self-revealing discovery, characterised by projective force and ceaseless experiment. The interwoven and intersecting versions of his many writings are explored at revealing moments in his writing career. New, compelling accounts of his most important novels, poetry and travel books become possible. Students of creative writing and Modernist literature, and all readers of Lawrence's works, will benefit from this ambitious and original book.

This collection of original essays brings international and multidisciplinary perspectives to the problem of how to understand and practice editorial mediation: How does editing alter what it seeks to represent? How does it condition the relationship between texts and readers? The different concerns shared by editors of a variety of genres, literary and otherwise, emerge here as constructive new approaches to the theory and practice of editing are explored. The essays make a concerted attempt to assess the implications of postmodern thought on one of the oldest and most fundamental cultural activities, editing The section on theory covers such important subjects as editorial responsibility, the death of the author, and the nature of the authorial voice. The practice section covers actual editing situations in various literary areas and in musicology, recorded music, and the preservation of oral literature. The multidisciplinary volume will find its readers among students of textual criticism, literature, music, and folklore as well as any readers of postmodern criticism.

This collection of original essays brings international and multidisciplinary perspectives to the problem of how to understand and practice editorial mediation: How does editing alter what it seeks to represent? How does it condition the relationship between texts and readers? The different concerns shared by editors of a variety of genres, literary and otherwise, emerge here as constructive new approaches to the theory and practice of editing are explored. The essays make a concerted attempt to assess the implications of postmodern thought on one of the oldest and most fundamental cultural activities, editing The section on theory covers such important subjects as editorial responsibility, the death of the author, and the nature of the authorial voice. The practice section covers actual editing situations in various literary areas and in musicology, recorded music, and the preservation of oral literature. The multidisciplinary volume will find its readers among students of textual criticism, literature, music, and folklore as well as any readers of postmodern criticism.

Fifty-two of Henry Lawson's stories and sketches that he had first published in newspapers and magazines from 1888 onwards were gathered in his collection While the Billy Boils (Angus & Robertson, 1896). Lawson was not responsible for their ordering and he had to give ground on their texts, especially on his idiosyncratic presentation of wordings that helped to breathe life into his characters and situations. The present edition dismantles the fait accompli of 1896 by presenting the individual items in the chronological order of their first publication and with their original newspaper texts. This will allow a new appreciation of Lawson's writing, one that is attentive to his developing powers.The edition also facilitates a close study of Lawson's collaboration with the producers of the collection in 1896, in particular with his copy-editor Arthur W. Jose and publisher George Robertson. Facsimile images (available online) of the printer's copy that they prepared for While the Billy Boils supplement the edition's listing of the alterations that each of them made, revealing the textual history of each story or sketch.

Tracing the life of an iconic Australian literary work in the lead-up to, and after, its publication: Henry Lawson's While the Billy Boils from 1896, Eggert follows Lawson's gradual development of pared-back bush realism, as he struggled to forge a career writing for newspapers.

This is the first collection in print of the letters of Australian colonial poet Charles Harpur (1813–68) and his circle. Supported by extensive annotation newly prepared for this edition, the 200 letters and life-documents open up successive phases of colonial culture from the 1830s to the 1860s in a newly focused way. Harpur’s two-way correspondence with poet Henry Kendall, and with poet and future premier of NSW Henry Parkes, is especially impressive.The letters selected for this edition document Harpur’s life in a previously unavailable way. They reveal the intriguing struggle of a high-minded young man to pursue a serious vocation as a poet amidst the unpromising contours of colonial New South Wales society. Despite bearing the taint of a convict family background, Harpur took his vocation with utmost seriousness and had much to endure before he would find recognition as a poet, mainly in colonial newspapers where his poems made over 900 appearances.This edition captures the process in detail, as well as the production in 1883 of his Poems in book form. Even though editorially mangled, Poems confirmed his reputation and led to his presence in dozens of anthologies down to the present day.